Study Page, Dendrobium convolutum

Once all the colours were worked out, I spent a full day developing the study page further and experimenting with painting the leaves, flowers, stems, and roots. It may seem like extra work, but it’s really just one additional day - and it makes a huge difference in feeling prepared and confident before starting the final painting. if it takes more than a day - thats also ok. in this case all parts are relatively small so it didn't take long and its not very neat!

A study page should be a page of experimentation — that’s exactly what it’s for. It’s the place where you work out approaches, observe and interpret light direction, and test tonal values. Things will often be wrong, and that’s perfectly fine, because this is where you figure out how to get them right before moving on to the final painting.  I spent one day on this page, and it was time well spent.

Understanding the Plant

I’m not all that familiar with painting Orchids, so I wanted to play around with achieving the right textural surfaces for the various plant parts. These plants have shiny leaves and flowers, but also papery canes, so it’s important to understand how each surface behaves in light. This experimentation allows me to work out the different tonal values between overlapping parts and understand how the plant responds to light, which in turn helps me develop a clear plan for the finished piece.

It also gives me the chance to make further adjustments to the composition if needed, based on what I discover during the studies.

Experimentation Is Essential

Sometimes I overwork leaves or experiment with colours and layering. All of this is perfectly acceptable on a study page — that’s exactly what it’s for. It isn’t meant to be a perfect page; it’s about trying things out to achieve the best possible results. And just as importantly, it’s about knowing when to stop.

Paint Dilution — A Key Skill

One of the most important things for any botanical artist is understanding paint dilution. This is an area where many students struggle, because the most common issue is using incorrect dilution, usually too much water , also not fully understanding dry‑brush techniques. Below is a video showing the paint dilution I used.

https://youtu.be/cPONHkDgYL0

Leaf Example — Step by Step

1. Underlying colour

The first layers are underlying colour — in this case, pale blue.

• I used Cobalt Blue, diluted but not overly wet.

• The paper is lightly dampened with clean water first (size 3 or 4 brush).

• The blue is mostly added in highlighted areas, though distant leaves can have it all over.

• Allow layers to dry before adding more.

2. Basic green hue

Next, the basic green is added.

• This mix is less dilute than the blue layer.

• Again, I lightly dampen the paper first.

• The green can be added in a couple of layers before switching to dry techniques.

• Distant leaves may only need these layers; foreground leaves will require more saturation and detail, especially where there are overlapping parts.

3. Dry techniques

Final stages use dry techniques.

• These can be applied to a lightly dampened surface or a dry one; here, slightly damp works best for softness.

• The brush is loaded with a small amount of viscous paint and swept lightly across the surface in the direction of the veins.

• This adds subtle but more intense colour because it sits on the paper surface rather than sinking in.

• Dry‑brush hatching and dry‑brush drawing can be used for detail and thicker edges.

• i used the same brush for all of the painting but switch to a smaller size 1 or 2 brush for smaller areas - such as the flowers, if needed.

Final Planning

I use the same approach for all parts of the plant until I’m confident about how to tackle the final painting. The study page is where everything is tested, refined, and understood — so that the finished piece can be approached with clarity and confidence. At this point i'm ready to undertake the final painting.